URS Strip Pro Quick Start Guide

The URS Strip Pro v1.1

The Input Stage The Input Stage is a good place to start. Here you choose the soul of the plug-in! Click on the Drop Down Button (Tube1) and the list of the 30 Input Stages will display. Select the Input Stage of your choice Iron (Transformer), Tape, Tube or Iron/Tape combos.

The Intensity slider adjusts the Input Stage amount. 100% is where the Input Stage was digitally recreated. Lower to lessen the effect and boost up to 200% to amplify the effect. Note: The Intensity has no effect on the Digital Input Stage (Bypass). Use the Input Level control above to drive the Input Stages especially the Tape and Tube Stages. Remember that this plug-in is a digital recreation of analog gear and your DAW host may not be able to handle the elevated Input Levels that you can boost. Use the Compressors Gain Make up or the Output control to trim the boost to be digitally acceptable. The Input Stage Unlock Function The Input Stage Unlock function allows the Input Stage settings to be locked. When the Input Stage is locked, it cannot be changed by the Compressor Starting points.

Input Stage Locked and Unlocked The Compressor Section The Compressor includes its own starting point presets! Use the dropdown button (Strip A) to select from the 60 included starting points.

The factory made Compressor Starting Points do not change the following: Input level, Output level, Signal Flow, EQ and/or Filter settings. Each starting point selects an Input Stage that best suits the Compressor preset. You can edit the Compressor and Input Stage settings manually and save as a new Global preset. Note Global presets save all parameters. The Compressor Starting Points feature pre set balanced threshold levels. To audition the presets, adjust the Input control to set the compressors threshold or use a gain trim plug-in before the Strip Pro in the plug-in chain.. Compressor Auto Release Function The Compressor Auto Release drop down is located below the Compressors release knob. There are seven program dependent Auto Release selections available. The Auto Release presets are organized from Fast to Slow: A1 A2
A3 A4 A5 A6 A7

1970 Fast
Opto3a 1970 Slow Opto2a 1980 Fet Tube Child

When M is selected (Manual) the compressors release time can be manually adjusted

The Signal Flow Display Section The Signal Flow Display section acts as a Master Bypass and Bypass for each individual section (Compressor, EQ, Filters).

The order of the buttons represents how the signal passes through the plug-in. You can change the signal flow and order of the buttons using the Pre/Post switches located at the bottom of the Compressor Section and top of the Filters section. Using the Drop Downs
There are Drop Down Menus for the Input Stage, Compressor and each band of the EQ Sections
Click on the left side of the drop down for the list of available choices Click on the down arrow to the right of the drop down window to advance down to the next model Shift + Click to advance up to the previous model

The EQ Modeling Drop down selects the available EQ Models per band

The Filters Section Selectable Pre or Post the Compressor Section

Select SideChain to use the Filters to affect the Compressor Section Check out the Factory Presets under Effects to learn how to set up the Sidechain Select De-Esser, De-Sha, Ducker, Talkback Mic, Telephone and more.

The EQ Section Features a Drop down menu above each bands Q control which allows you to select from the current available EQ Models.

. Find a problem frequency and then audition the effect of the different EQ models. There are Global Presets that will set up the Strip Pro as completely different consoles with corresponding Input Stages and Compressors by year. Example 1951, 1967, 1970, 1980 etc Linking the EQ Modeling of each band
The EQ Model Link enables all four bands to change simultaneously to the same EQ Model year. The EQ Model Link is located to the right of the HF Gain control. Click on the EQ Modeling Led. When illuminated it is enabled:

The EQ Model Link in the off position

Quick Start Presets for all Instruments and Applications Check out the Professional Factory Presets grouped by category.

URS Global Console Presets There are currently five Console Global presets: 1951, 1967, 1970, 1972 and 1980. The Console Global presets are excellent starting points to learn the capabilities of the URS Classic Console Strip Pro. A good idea is to get familiar with the sound of each model before you then create your own custom consoles made up of the many diverse components we have provided. Below is a brief summary of each console. 1951 The 1951 Console never existed as a console. It is made up of a 1951 Tube Input Stage, HPF Filter engaged at 31hz, A Tube Compressor (modeled after 1954 Federal 864/U) and a four Band EQ made up from two 1950s outboard Tube Program and Midrange EQs. It is what the engineer of the 1950s used to process audio back in the day. The 1951 HF Program EQ had Attenuation only at 5k, 10k and 20k, seven selectable MF Boost only at 3k, 4k, 5k, 8k, 10k, 12k, 16k . LF Program EQ had four selectable shelves at 20hz, 30hz, 60z and 100hz.. A second Midrange Equalizer was used to select five Peak boosts at 200hz, 300hz, 500hz, 700hz and 1k. eleven MF Dips at 200hz, 300hz, 500hz, 700hz, 1k, 1.5k, 2k, 3k, 4k, 5k ,7k and five HMF Boosts at 1.5k, 2k, 3k, 4k, 5k. Substitute Tube 1-4, Tube A, Tube B, Tube E, Tube EL for compression. 1967 The 1967 Console has an 1967 American Transformer Input Stage, auxiliary rack* 1967 Compressor (switch able from Comp 2:1 ratio to Limit 20:1 ratio), high and low pass filters and a four band 1967 EQ section with seven selectable HF Peak or Shelving at 2.5k, 5k, 7k, 10k, 12.5k, 15k, 20k , nine selectable HMF peak EQ points 200hz,, 240hz, 500hz, 700hz, 800hz, 1k, 1.5k, 3k, 5k, , eight selectable LMF peak EQ points 240hz, 500hz, 700hz, 800hz, 1k, 1.5k, 3k, 5k and seven selectable LF Peak or Shelving at. 30hz, 40hz, 50hz, 100hz, 200hz, 300hz, 400hz. Substitute Opto2a, Opto2aL, Opto3a, Opto3aL FET for Compression. *Note American consoles from this era had four auxiliary slots on the Buss Section that were normally filled with two to a maximum of four Compressor/Limiters per console. 1970 The 1970 Console has a 1970 British Transformer Input Stage, auxiliary rack* 1970 British Compressor / Limiter (adjustable Comp and Limiter ratios), Selectable high pass filters and a four band 1970 EQ section with selectable Peak or Shelving on the HF and LF bands. The Original British 1970 EQ section was only three bands with a fixed HF 12k shelf, six selectable peak Midrange frequencies at 350hz, 700hz, 1.6k, 3.2k, 4.8k, 7k and four selectable LF shelves at 35hz, 60hz, 110hz, 220hz. We have added a second duplicate band of the midrange frequencies for more possibilities. *Note British consoles from this era had eight channel auxiliary rack in the master Section that were normally filled with two to a maximum of eight Compressor/Limiters per console. 1972 The 1972 Console has a 1972 British Transformer Input Stage, auxiliary rack* 1972 British Compressor / Limiter (adjustable Comp and Limiter ratios), high and low pass filters and a four band 1970 EQ section with selectable Peak or Shelving on the HF and LF bands. The Original British 1972 EQ section was four bands with five selectable HF peak or shelving at 3.3k,.4.7k, 6.9k, 10k, 15k, nine selectable High Midrange frequencies at 1.5k, 1.9k, 2.2k, 2.7k, 3.3k, 3.9k, 4.7k, 5.8k, 6.9k, ten selectable Low Midrange frequencies at 220hz, 270hz, 330hz, 390hz, 470hz, 560hz, 690hz, 820hz, 1k, 1.2k and five selectable LF peak or shelving at 33hz, 56hz, 100hz, 180hz, 330hz . The two Midrange bands had two selectable Q positions. *Note British consoles from this era had eight channel auxiliary rack in the master Section that were normally filled with two to a maximum of eight Compressor/Limiters per console. 1980 The 1980 British Console has a 1980 Input Stage, in board Compressor/Limiter that is selectable Pre or Post EQ, fully sweep able High and Low Pass Filters Section, selectable Pre or Post EQ and can also be used to side chain the Compressor/Limiter Section. The British 1980 four band EQ section featured fully sweep able HF and LF bands with selectable Peak or Shelving and two overlapping fully sweep able parametric HF and LF bands..

Input Stage Models Explained Current included Input Stage Models:

Digital 1951 1967 1970 1972 1980 15ips 30ips 30ipsH IronA IronA 15 IronA 30 IronA 30H IronB IronB15 IronB30 IronB30H IronC IronC15 IronC30 IronC30H IronD IronD15 IronD30 IronD30H IronG IronG15 IronG30 IronG30H Tube1 Tube2 Transparent Input Stage (No colorization) (Bypass) 1951 Input Stage 1967 Input Stage and Summing Buss 1970 Input Stage and Summing Buss 1972 Input Stage and Summing Buss 1980 Input Stage and Summing Buss 15ips 2 Tape Head Bump and Electronics curve 30ips 2 Tape Head Bump and Electronics curve 30ips 1/2 Tape Head Bump and Electronics curve American Class A Transformer Input Stage Warm Bottom American Class A Transformer + 15ips 2 Tape Head Bump and Electronics curve American Class A Transformer + 30ips 2 Tape Head Bump and Electronics curve American Class A Transformer + 30ips 1/2 Tape Head Bump and Elect. curve British Class A Transformer Input Stage Warm Bottom British Class A Transformer + 15ips 2 Tape Head Bump and Electronics curve British Class A Transformer + 30ips 2 Tape Head Bump and Electronics curve British Class A Transformer + 30ips1/2 Tape Head Bump and Electronics curve American Class A Transformer Input Stage Warm Top End American Class A Transformer + 15ips 2 Tape Head Bump and Electronics curve American Class A Transformer + 30ips 2 Tape Head Bump and Electronics curve American Class A Transformer + 30ips 1/2 Tape Head Bump and Elect. curve American Class A Transformer Input Stage Warm Bottom & Top American Class A Transformer + 15ips 2 Tape Head Bump and Electronics curve American Class A Transformer + 30ips 2 Tape Head Bump and Electronics curve American Class A Transformer + 30ips 1/2 Tape Head Bump and Elect. curve German Class A Transformer Input Stage Warm Bottom - Top End Boost German Class A Transformer + 15ips 2 Tape Head Bump and Electronics curve German Class A Transformer + 30ips 2 Tape Head Bump and Electronics curve German Class A Transformer + 30ips 1/2 Tape Head Bump and Elect. curve Tube Electronics Input Stage Warm Midrange Boost Tube Electronics Input Stage Warm Low Freq Boost

Compressor Starting Points Explained

1967 1967L 1970C1 1970C2 1970C3 1970C4 1970C5 1970L1 1970L2 1980C1 1980C2 1980C3 1980C4 1980C5 Fet 4 Fet 8 Fet 12 Fet 20 Fet All Opto2a Opto2aL Opto3a Opto3aL Rm Mic Stress 3 Stress 6 Stress10 Stress20 Strip A Strip B Strip C Tape15 Tape15L Tape30 Tape30L Tape30H Tube 1 Tube 2 Tube 3 Tube 4 TubeA TubeB TubeE TubeEL TubeF TubeSL TubeT02 TubeT04 TubeT10 VCA60 VCAX VCAXS VCA65a VCA65b 1967 American Feed Forward Compressor 2:1 ratio 1967 American Feed Forward Limiter 20:1 ratio 1970 British Channel Compressor Ratio 1.5:1 100ms Release 1970 British Channel Compressor Ratio 2:1 100ms Release 1970 British Channel Compressor Ratio 3:1 400ms Release 1970 British Channel Compressor Ratio 4:1 400ms Release 1970 British Channel Compressor Ratio 6:1 400ms Release 1970 British Channel Limiter Ratio 100:1 50ms Release 1970 British Channel Limiter Ratio 100:1 100ms Release 1980 British VCA Channel Compressor Ratio 2:1 Fast Attack 1980 British VCA Channel Compressor Ratio 3:1 Slow Attack 1980 British VCA Channel Compressor Ratio 4:1 Fast Attack 1980 British VCA Channel Compressor Ratio 5:1 Fast Attack 1980 British VCA Channel Compressor Ratio 8:1 Fast Attack 1967 Fet Limiter 4:1 ratio 1967 Fet Limiter 8:1 ratio Slowest Attack Fastest Release 1967 Fet Limiter 12:1 ratio 1967 Fet Limiter 20:1 ratio 1967 Fet Limiter All Buttons 1965 Opto Compress setting 1965 Opto Limit setting 1969 Opto Compress setting 1969 Opto Limit setting TalkBack Compressor Full bandwidth 25:1 ratio 1995 Stress Compressor 3:1 ratio 1995 Stress Fet Compressor 6:1 ratio 1995 Stress Opto Limiter 10:1 ratio 1995 Stress Fet Limiter 20:1 ratio Preset A from URS Classic Console Strip Preset B from URS Classic Console Strip Preset C from URS Classic Console Strip Tape 15ips 2" Normal Compression Tape 15ips 2" Light Compression Tape 30ips 2" Normal Compression Tape 30ips 2" Light Compression Tape 30ips Half inch Normal Compression Tube Child setting 6:1 ratio fast release Tube Child setting 6:1 ratio normal release Tube Child setting 6:1 ratio slow release Tube Child setting 6:1 ratio slowest release 1950's American Tube Compressor 2:1 ratio 300ms release 1950's American Tube Limiter 5:1 ratio 333ms release 1960's British Tube Compressor 2:1 ratio 500ms release 1960's British Tube Limiter 6.5:1 ratio 100ms release 1954 American Tube Limiter 4:1 ratio 1950's American Tube Leveler 8:1 ratio Tube compressor 2:1 Ratio Mid Point Release Tube compressor 4:1 Ratio Mid Point Release Tube compressor 10:1 Ratio Mid Point Release American VCA setting 2:1 ratio American VCA X 4:1 ratio hard knee American VCA X 4:1 ratio soft knee American VCA 2:1 ratio soft knee American VCA 4:1 ratio soft knee

VCA 3 VNewC VNewL XTC-A XTC-B XTC-C

Rouge VCA 3 setting 3.5:1 ratio Very New Compress 1.5:1 ratio Very New Limit 4:1 ratio American Class A Buss Compressor Preset A American Class A Buss Compressor Preset B American Class A Buss Compressor Preset C

Guide To Compressor Presets -The Compressor Presets above are both starting points and actual great sounding presets. Below are tips to adjusting the Ratio amount and Attack and Release times. Please note that after adjusting the Ratio and Attack and Release times, Threshold and Gain Make up will need re-adjustment. As you get to know the Strip Pro this will become easier. Below are alternate Ratio, Attack and Release settings that keep the Vintage sound of the starting points. Print this as a reference.

1967 Console Compressor Vintage Attack .1us fixed, Vintage Ratio 2:1 fixed Vintage release times were 100ms, 500ms, 2 seconds, 2.5 seconds and 3 seconds. Modern Ratios 1.5:1, 2:1, 3:1, 4:1, 6:1, 10:1 and 100:1

1967 Console Limiter Vintage Attack .1us fixed, Vintage Ratio 20:1 fixed Vintage release times were 100ms, 500ms, 2 seconds, 2.5 seconds and 3 seconds. Modern Ratios 1.5:1, 2:1, 3:1, 4:1, 6:1, 10:1 and 100:1

1970 Console Compressor presets Set up to show the available Ratios 1.5:1, 2:1, 3:1, 4:1 and 6:1. Vintage Attack 3ms fixed, Vintage release times were 100ms, 400ms, 800ms and 1.5 seconds

1970 Console Limiter presets Vintage Ratio 100:1 Vintage Attack 2ms Fast and 4ms Slow. Vintage release times were 50ms, 100ms, 200ms, 800ms and 1.5 seconds

1980 Console Compressor presets Set up to show the popular Ratios 2:1, 3:1, 4:1. 5:1 and 8:1. Vintage ratios are sweep able from 2:1 to 100:1. Vintage attack times were fixed at 1ms Fast and Auto 10ms. Vintage Release was sweep able from 100-4000ms - The soft Knee gets harder as the Ratio increases

FET Compressor/Limiter presets Vintage Ratios 4:1, 8:1, 12:1 and 20:1 plus a special ALL mode that measures out to 16:1, Vintage Attack sweep able from .2ms Fast to .8ms Slow. Vintage Release 50ms Fast to 1100ms Slow. Slight soft Knee gets harder as the Ratio increases.

OPTO Compressor/Limiter Vintage Compressor Ratio 6:1 and Limiter ratio 10:1, Attack fixed at .1 Release sweet spot at 727ms,. Slight Soft Knee. Vintage unit had only Threshold and Gain Make Up

Stress Compressor/Limiter Vintage Ratio 3:1, 6:1, 10:1(Opto) and 20:1 Note Ratios 6:1, 10:1(Opto) and 20:1 actually are all 20:1 with different Attack and release times

Strip Presets from the URS Strip

Tape Compression Presets Ratio 1.8:1 Light Compression (Higher Output Tape) and 2:1 for normal

Tube Child settings 1-4 Vintage Tube Unit Ratio fixed at 6:1, Preset Settings 1 and 2 = Attack .2ms, Settings 3 and 4 = Attack .4ms. Vintage Release times represented. Soft Knee

Tube A Vintage 436 Tube Compressor had only Threshold and Gain Make up. Attack 50ms and Release fixed at 300ms

Tube B Vintage Ba6a Tube Compressor had only Threshold and Gain Make up. Attack fixed .6ms and Release fixed at 333ms. Hard Knee

Tube E Vintage American Tube Compressor with British Mods Ratio fixed at 2.1 - Attack fixed at 47ms. Release times 250ms, 500ms, 1200ms, 2500ms and 4000ms, Slight Soft Knee

Tube E Limiter Vintage American Tube Compressor with British Mods Ratio fixed to 6.5:1 and Attack fixed at 8ms. Release times 50ms, 100ms, 250ms, 500ms, 1000ms and 2000ms. Slight Soft Knee

Tube F 1954 Vintage AM864 Tube Limiter. Its Ratio fixed at 4.1 - Attack fixed at 1.2ms. Release times 508ms Slight Soft Knee. Great Drum and Acoustic Guitar Limiter

Tube SL Leveler - Vintage Tube American Leveler helped the signal to Stay Level. Unit had only adjustable Threshold and Gain Make up and Release switch that switched between the 2500ms and 4000ms. Also try 500ms. Slight soft Knee, Great on Bass Guitar Check out the Bass Leveler preset!

Tube T Compressor Vintage Danish Tube Compressor with sweep able Ratio 2:1 to 10:1 and Attack at midpoint 44ms. Release times at sweet spot 727ms, Very Soft Knee. Actual ratio much less than faceplate indicated. Presets for 2:1. 4:1 and 10:1 ratios.. Vintage unit also had an Attack/release preset of 1ms Attack and 50ms Release- Dial in those settings on the 4:1 preset for a Great Drum Compressor.

VCA60 Vintage Ratios 2:1, 4:1, 6:1, 10: Attack fixed at 15ms and Release at 80ms. Hard Knee

VCAX, VCAXS Vintage Ratios 2:1, 4:1, 6:1 Attack fixed at 15ms and Release at 80ms. Hard Knee at 0 and Soft Knee at 5. VCA60XS soft Knee mode reduces ratio by more than half.

VCA65 Vintage Ratios 2:1, 4:1, 6:1 as presets a, b and c. Preset Attack fixed at 15ms and Release at 80ms. Extremely soft knee

VCA 3 Compressor - Vintage Ratio 1.5:1 10:1, Attack Fast / Slow and Release 100- 4000ms

VNew Compressor 1.5:1 and Limiter at 4:1, Vintage Attack Time 25ms -70ms, Vintage Release adjustable 200ms, 400ms, 600ms and 4000ms, For Limiting more than 12db adjust ratio to 20:1

XTC Vintage Class A Buss Compressor features gentle Ratios 1.7:1 to 1.8:1 and Soft Knee.

URS Strip Pro EQ Section The EQ section digitally recreates the sound of four different analog consoles plus a program EQ. All bands features fully sweep able frequency and "Q" bandwidth selection. The Mid range bands overlap over four octaves of frequency selection. The LF and HF EQ Bands are selectable Peak or Shelving. Each EQ band presently selects from either: 1951 Program EQ - Tube 1967 Console EQ American 1970 Console EQ - British Class A Three Band 1972 Console EQ - British Class A Four Band 1980 Console EQ - British

Guide to the URS Classic Console Strip Pros Vintage Console EQ Frequencies Below are the PRIME frequencies that were featured on the vintage units. Print this as reference.

1951 Combination of two outboard Program Equalizers Program Equalizer HF Atten - 5k, 10k,, 20k MF Boost 3k, 4k, 5k, 8k, 10k, 12k, 16k LF Boost and Atten 20hz, 30hz, 60hz, 100hz Midrange equalizer MF Peak 1.5k, 2k, 3k, 4k, 5k MF Dip 200hz, 300hz, 500hz, 700hz, 1k, 1.5k, 2k, 3k, 4k, 5k ,7k LMF Peak - 200hz, 300hz, 500hz, 700hz, 1k

1967 HF 2.5k, 5k, 7k, 10k, 12.5k, 15k, 20k HMF 200hz,, 240hz, 500hz, 700hz, 800hz, 1k, 1.5k, 3k, 5k LMF 240hz, 500hz, 700hz, 800hz, 1k, 1.5k, 3k, 5k LF 30hz, 40hz, 50hz, 100hz, 200hz, 300hz, 400hz 1970 HF 12k HMF 350hz, 700hz, 1.6k, 3.2k, 4.8k, 7k LMF 350hz, 700hz, 1.6k, 3.2k, 4.8k, 7k LF - 35hz, 60hz, 110hz, 220hz Note * Original 1970 EQ had only three bands The Strip Pro duplicates the midrange band for LMF and HMF 1972 HF 3.3k,.4.7k, 6.9k, 10k, 15k HMF 1.5k, 1.9k, 2.2k, 2.7k, 3.3k, 3.9k, 4.7k, 5.8k, 6.9k LMF 220hz, 270hz, 330hz, 390hz, 470hz, 560hz, 690hz, 820hz, 1k, 1.2k LF 33hz, 56hz, 100hz, 180hz, 330hz 1980 HF Sweep 1.5k to 18k HMF Sweep 500hz to 7.5k LMF Sweep 200hz to 7.5k HF Sweep 30hz to 450hz